Tag Archives: Literary Magazines


“I never desire to converse with a man who has written more than he has read.”

                                                 –Samuel Johnson

“There are worse crimes than burning books. One of them is not reading them.”

                                                 –Joseph Brodsky

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What passes?

Never were days yet called two,

But one night went betwixt.

                 –Thomas Campion

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Enter Title Here

“Prose is the written form of deliberate expression, a medium that can become an art. Whereas speech is halting, comes in fragments, repeats, puts qualifiers after the idea, and often leaves it half expressed, prose aims at organized thought in complete units. The qualifiers of each idea often come before or during its exposition, as required by clarity, the sound of the words, or their rhythm.”


“Good prose means hard work; as a modern practitioner put it, it is ‘heavy lifting from a sitting position.'”

                                                                                                  –Jacques Barzun

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What day is it? Not Adam’s.

“The sensibility of man to trifles, and his insensibility to great things, indicates a strange inversion.”


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Simon Says

“Don’t think any intelligent person is going to be deceived when you try to shirk all the difficulties of the unspeakably difficult art of good prose by chopping your composition into line lengths.”

                                                                                                –Ezra Pound

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Please include a brief bio…

“I must confess to lifelong boredom with the main purpose of literary biography: the Life as opposed to the Work, which is, after all, all. I have also never had the slightest interest in knowing on whom a writer has based the character of Jeff, say, and should Jeff’s affair with Jane be just like a real-life one with Gladys, I feel gravity tugging at the volume in my hand. It makes not the slightest difference whether or not one knows a writer’s raw material because it is what he does with the stuff of his life that matters, and how he does it is to be found in the surviving words not in long since made beds.”

                                                                                                    –Gore Vidal


“We appreciate the chance to read your work…”

“Those brought up on the passive pleasures of films and television find the act of reading anything at all difficult and unrewarding.”

                                                                                                 –Gore Vidal

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“The hardest thing in the world to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn…”

                                                                               –Ernest Hemingway

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They have the numbers—

“The idea that all cultural expressions are equal has been fostered, not surprisingly, by women and minorities. Just as Americans in general have felt more confident in their grasp of contemporary culture than of its classical antecedents predating our nationhood, so those Americans who were historically excluded from the mainstream of tastemaking now feel more comfortable with seeing their traditional crafts and pursuits elevated to the status of art than they do with trying to master established art forms. In truth, some of these crafts have much to recommend them. I collect vintage examples of weaving; I find the blues irresistible; I have always liked square dancing. But these are lesser forms of art than, say, oil painting and opera and ballet, because the techniques are less arduous and less demanding of long learning, the underlying symbolic language is less complicated, the range of expression is less profound, and the worship of beauty is muddied by the lower aims of community fellowship. Above all, these arts are less intellectual—less cerebral, less abstract, less of a test. The prevailing popular notion that high culture is hard brain-work is, in fact, true. That is part of its point, not necessarily to exclude the less able but certainly to challenge them to stretch themselves and to heighten their learning.

American popular culture does not embrace this certification of art as work. Indeed, the word art is rarely used at all. The preferred signifier is the word entertainment, which correctly conveys that the aspirations are generally escapist, nostalgic, or anodyne. Entertainment promises to make you feel better, to help you forget your troubles, to liberate you from having to think. Even when entertainment touches deep feelings, it does so as a gesture of reassurance, a combination of sentiment and sloganeering. This is what most people say they want, and the market lets them have it, without anyone in a position of intellectual or social leadership telling them that they should ask more of themselves—and might benefit thereby.”

                                                        –William A. Henry III, In Defense of Elitism


All the bells say: too late.

“A country which is supposed to be built on dissent, built on the value of the individual, now distrusts dissent at least as much as any totalitarian government can and debases the individual in many ways because it places security and money above the individual; and when these things are cultivated and honored in the country, no matter what else it may have, it is in danger of perishing, because no country can survive, it cannot survive, without a patient, active responsibility for all its citizens.

We have begun to see what happens to a country when it is run according to the rules of a popularity contest; we have begun to see that we ourselves are for more dangerous for ourselves than Khrushchev or Castro.”

                                      –James Baldwin, “What Price Freedom?” (1964)

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